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Bitwig Studio 3.2 Adds EQ+, Saturator, Arpeggiator & Delay Options For Evolving Sounds

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Bitwig Studio 2004 3 2 News

Bitwig Studio 3.2 Adds EQ+, Saturator, Arpeggiator & Delay Options For Evolving Sounds

Bitwig Studio 3.2 is available and adds many features giving you better control and sculpting possibilities for your sounds.

New are Evolving Sounds, this package includes presets that change in different ways. Some are soundscapes, which twist and grow over time. Others are sequences, giving rhythmic force to the sound. And some do a bit of shuffling, cycling various sources or effects to create a mélange of sound. Download “Evolving Sounds and Sequences” from the Bitwig Studio Package Manager today, find the range of each preset with its friendly Remote Controls, and instantly turn a few common notes into a wave of textures, just as subtle or glaring as you like.

The easiest way to update is to launch your Bitwig and look to the top right corner for the update instructions.

Bitwig Studio 3.2 Adds EQ Saturator Arpeggiator Delay Options For Evolving Sounds
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BITWIG STUDIO 3

  • The Grid, a modular sound design environment sporting 160 modules and lightning-fast workflows
  • Poly Grid device: for creating synthesizers, sequenced patches, and more
  • FX Grid device: for creating audio FX with optional voice stacking
  • Automatic Project Backups, each time you re-save a project
  • Realtime Ruler, showing timelines in minutes and seconds
  • Ableton LINK version 3, supporting start/stop synchronization
  • Global GUI Contrast settings, making the interface pop on any monitor
  • Redesigned Instrument Inspector, offering polyphony, two mono voice modes, and more
  • VU Meters in Routing Choosers, showing the signal you are looking for
  • Reworked audio backends, sporting timing improvements on all platforms
Bitwig Studio 2004 3 2 News
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New in Bitwig Studio 3.2 [released 03 June 2020]

NEW DEVICE: EQ+ (EQ) 

  • EQ driven by a new algorithm and a unique style of graphic interface 
  • 14 filter mode types for each band
  • Global frequency Shift and Gain controls for moving all bands together
  • Adaptive-Q option, narrowing the Q of bands as their gain increases
  • Quick gestures for adding bands:
    • Peak filters are added by double-clicking at the current mouse cursor position
    • Low-/high-shelf filters are added by dragging the left/right edges of the EQ curve
    • Low-/high-cut filters are added by dragging the left/right edges of the EQ graph (off the curve)
    • Notch filters are added by dragging the lower edge of the EQ graph
    • Different mouse cursors are shown to identify each interaction’s filter mode
  • Clicking on the selected band’s audition target soloes that band while the mouse/touch is held
  • Numeric controls for the selected band are shown (with all bands displayed in the Inspector)
  • Expanded Device View for large/detachable version of the graphical editor (with all bands displayed in the Device Panel)
  • EQ curve is shown on a rainbow spectrum, with each band’s color set by its frequency
  • Select a Reference track, which will be show as a purple curve inside the spectrum display
  • Spectrum display includes frequency Tilt and decibel range settings, as well as Speed and Resolution controls

NEW DEVICE: SATURATOR (DESTRUCTION) 

  • Unique signal shaper that works in the log domain (like us )
  • Basic panel interface with transfer function display, Drive amount, Normalize option, low-pass controls for just saturated portion of the signal, and Makeup Gain
  • Filter Slope setting offers two flavors of filter: G modes are a bit more gentle, and R modes tend to be rougher. So 3ᴳ is gentle at 18 dB/oct, 1ᴿ is a rough with 6 dB/oct, etc.
  • Expanded curve editor that provides:
    • Quiet and loud Threshold settings, to define each end of the sound
    • Quiet and loud Amount settings, controlling how the signal is proportionately changed beyond each Threshold
    • Quiet and loud Knee settings, for how gradual each transition is
    • Three Skew controls, for making the loud ThresholdAmount, and Knee controls apply differently to positive and negative amplitudes
    • An interactive log display of these controls and the incoming signal
  • New Grid module: Saturator (Shaper) – module version of the device, allowing for polyphonic applications in The Grid

UPDATED DEVICE: ARPEGGIATOR (NOTE FX) 

  • Each step now has a pitch offset slider (in addition to the velocity and note length controls), and a global toggle for enabling all steps
  • New Humanize parameter randomizes velocities and step start times and lengths (either earlier or later)
  • Nine new Pattern options, for 17 in total
  • Rate can now be set in milliseconds
  • Micro-pitch expressions are now tracked for each note
  • Poly Pressure to Velocity option replaces initial note velocities with any polyphonic pressure message (like those from MPE controllers) received
  • Option to Allow Overlapping Notes can be toggled on (default) or off
  • Trigger Immediately option allows notes to start off the beat grid
  • Release Immediately option uses the final note off to instantly end sound (instead of lasting the full step length)
  • New Octave Behavior option, used when the Octave Range is greater than one. Settings include…
    • Broad – Takes each additional octave in sequence, stacking them up with possible irregular/repeating patterns. (This is the default.)
    • Thin – Flattens & sorts all notes into one linear shape. (This was the Arpeggiator behavior in v3.1.x and earlier.)
    • 1 by 1 – Executes the full pattern in each octave before moving to the next octave.

UPDATED DEVICES: SELECTORS (CONTAINER) GET VOICE MODES 

  • Instrument SelectorNote FX Selector, and audio FX Selector now have voice modes in the Inspector for cycling thru the available layers in various ways
  • Modes (and example uses) include:
    • Manual (same as the behavior up to 3.1.x) – Target layer is set by user, controller, modulator, and/or automation
    • Round-robin – New note triggers the next layer (for notes in series, or individual notes within a chord)
    • Free-robin – Round-robin, but skips used voices when possible
    • Free Voice – New note uses the first free layer. Always starts with the first layer for more predictable results. (Also ideal for loading multiple layers with HW CV Instrument to create polyphony with Eurorack hardware.)
    • Random – New note randomly selects a layer (nice with a pile of different audio FX)
    • Random Other – New note randomly selects a different layer (to guarantee a change each time)
    • Keyswitches – Designated notes set the target layer (you define the lowest keyswitch; so if set to note C2 and the Selector has 3 layers, C2 switches to layer 1, C#2 switches to layer two, and D2 switches to layer 3). Good for film scoring with different sounds and articulations.
    • CC – Designated continuous controller sets target layer (you define a continuous controller [default CC1 – mod wheel], whose full range will morph evenly thru all layers). For example, using mod wheel to cycle thru various note FX.
    • Program Change – PC messages set the target layer (program change messages map directly to each layer). Common output from pedal controllers, etc.
  • Other than Manual, all other modes are aware of the layer count. So adding or removing layers will just work without additional configuration.

DELAY OPTIONS, FOR EVOLVING SOUNDS 

  • New device: Note Delay, to delay an entire device chain/layer either in beats or seconds
  • ADSRAHDSR & Note Sidechain modulators: now have a Pre-delay option for delaying their start either in beats or seconds
  • New Grid module: Logic Delay (Logic), for delaying the high- or low-logic portion of gate signals
  • New modulator: AHD on Release (Envelope), a triggered envelope that launches at note off

OTHER NEW FEATURES

  • New Grid module: XP (Filter) – a modulatable filter with key tracking and 15 modes, including combos
  • New Grid module: Array (Data) – a recordable sequencer, for keeping track of up to 1024 events, notes, velocities, or anything else
  • New Grid module: N-Latch (Logic) – tracks the last trigger received from up to eight inputs, for an exclusive solo-type relationship
  • The Mix Panel now has mini displays of various devices, showing EQ curves (for EQ+EQ-5, and EQ-2) or gain reduction amounts (for CompressorDe-EsserDynamicsGate, and Peak Limiter)
  • Drum Machine device: now supports internal audio returns
  • Drum Machine device: option to select drum pads by following played notes (the five-pin MIDI icon)
  • In The Grid : dropping a sample or multisample into a Grid patch creates a Sampler module and loads the sound source
  • EQ-2EQ-5 & Resonator Bank devices: color each band by its frequency (like EQ+)
  • Test Tone device: Frequency parameter is colored with the rainbow spectrum
  • Added controller script for Befaco VCMC

IMPROVEMENTS

  • Interactive help window now includes links to related video tutorials (at the bottom of the window)
  • Opening a clip (BWCLIP) or preset (BWPRESET) file from the OS file manager will load the file onto a new track in the open project
  • Improved Ableton Link and MIDI clock slave synchronization
  • Transpose actions now work on audio clips (via the pitch expression)
  • Time and event selections display their length in minutes and seconds in the Inspector Panel
  • Both Arranger clips and cue markers can now be renamed with the standard command
  • User files can be renamed within the Browser Panel, and from the Files tab of the Project Panel
  • New preference for whether clicking a mixer solo button should disable all other solos (“exclusive solo”) or not. Shift-click performs the inverse behavior.
  • Drum Machine device: drum cells now swap when dragged on top of each other
  • EQ-5 and EQ+ devices: spectrum analyzers now have Resolution and fall Speed controls
  • Spectrum device & Grid module: now have Resolution, fall SpeedTiltScaleRange, and drawing Style controls
  • Tool device: now has an additional Volume control that bottoms out at silence
  • Vocoder device: Now suggests presets as either instruments or audio FX, depending on the contents of the Modulator chain
  • Steps & ParSeq-8 modulators: New with Groove mode, which syncs to the Global Transport with groove (when active)
  • Steps (Data) Grid module – new Interpolation option, for crossfading between step values; also a great way to create a lookup table
  • AD (Envelope) Grid module – new Looping option, to retrigger the envelope if the gate signal (often from the keyboard) is still held down when the envelope completes
  • New preference for whether middle mouse button drags will just pan in note editors, or pan and zoom
  • Audio engine: better parameter automation for VST2 and VST3 plug-ins (they now update at least every 64 samples)
  • The left/right edge of the clip’s loop region can be dragged in the Detail Editor Panel (even when the edge is offscreen)
  • Note and clip stretching targets (left and right edges) are a bit wider
  • When dragging multiple notes, small chords (up to four notes) will preview all notes; larger chords will sound only the note clicked on
  • When moving multiple notes with the keyboard, only the earliest note will sound
  • Improved Tap Tempo, to recognize tempo changes more quickly
  • Tap Tempo can now be manually mapped in the Mapping Browser Panel
  • Toggle Device Window is now mappable
  • New Shortcut: Toggle Primary Device Window
  • DSP Performance Graph window now shows if the audio timing is coming from the audio interface or if it is approximated
  • Linux: it wasn’t possible to drag files from some external applications (written using Qt, for example) into Bitwig Studio
  • ControlSurface API version 11:
    • ContinuousHardwareControl now has information about the name and value of the target it is controlling
    • Hardware controllers using the new API now have sub-buffer accuracy and no jitter when controlling parameters
    • Manual MIDI mappings in a project now have lower latency, sub-sample accuracy, and no jitter when controlling parameters
    • Indicators on the parameters are now automatically provided (no need to manually call Parameter.setIndication)
    • Now possible to map controls to MIDI pitch bend messages
    • Ability to choose between physical or logical knob/slider for a mapping in mapping browser
    • Ability to decide if a MIDI note mapping applies always or only when it is used for note input

FIXES

  • Undo was not possible after pressing escape key while dragging note velocity
  • Duplicating notes across multiple launcher clips in layered note editor did not select all duplicated notes
  • ALT-dragging a time selection on an instrument track to new track was bounces the selection, but was creating another instrument track
  • Gate device: input signal was stuck at zero
  • Instrument Selector device: playing the same notes on different channels created stuck notes
  • Oscilloscope device: deactivating trace B wasn’t affecting the Expanded Device View
  • Random modulator: would sometimes jump when in Sync mode
  • Mix modulator: modulator source now follows the device’s name
  • Fixed incorrect value on polyphonically modulated indexed controls
  • Some modulator values were not showing properly in the window footer on parameter hover
  • Fixed keyboard navigation between columns inside the Pop-up Browser
  • Scrolling through presets using a controller on the Pop-up Browser could be difficult because each preset was loaded instead of waiting a short time for the user to settle on a preset
  • Latest device descriptions are shown in the Inspector Panel
  • Crash when parsing some invalid SoundFont 2 files
  • No longer sends the MIDI Clock and MIDI Timecode when the engine is not processing in realtime
  • Fixed ghost note with some plug-ins when overlapping notes where played
  • Draw issue with open VST GUI button in the track mixer
  • VST2: kVstBarsValid flag was not set even when bar data was provided
  • If many underruns occurred, controllers that used the new hardware API may lag more than they should when adjusting parameters
  • Ignore mapping low level MIDI events that we detect are used for touch or release of a control
  • Random crashes that can happen when various controllers are running
  • macOS: dragging items might cause high CPU load in some cases
  • macOS: added missing entitlements for plug-ins that use eLicenser
  • macOS: drop operation occasionally happens only on the next mouse/key event when dropping items using trackpad
  • Linux: audio engine crash when selecting some ALSA audio outputs
  • Linux: crash when scaling GUI above 300%
  • Linux: When plug-in window is focused, allow key events to still work as though the Bitwig window was focused (for example, keyboard note input will still work)
  • Surge VST3: was showing a black window on Linux

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Audio Brewers

Peace by Audio Brewers – An Overview, the Innovative Bowed Instrument

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Peace by Audio Brewers An Overview the Innovative Bowed Instrument Cover Booklet

If you’re a music producer or composer, you’ll know that an instrument’s sound can significantly impact the overall feel of a piece.

That’s why DustBowl Cinematic and Audio Brewers are so excited to present their one-of-a-kind bowed instrument – Peace! Let’s explore just what makes this innovative instrument so unique.

Design and Craft Process

Created by master luthier Stamatis Stringaris through a laborious transformation process, Peace was crafted from a decommissioned Soviet missile shell.

The delicacy and precision required for such an endeavor is truly awe-inspiring.

Audio Brewers partnered with DustBowl Cinematic during the creation process to capture every minute detail of this unique instrument to create the highest quality samples possible.

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Finding the Best Sonic Spots

The team at Audio Brewers then set out to find the best sonic spots where they could capture the sound of Peace in its purest form.

This involved creating an immersive sonic ambiance for each note and adjusting each sample until it perfectly reflected the instrument’s original sound. As a result, listeners can expect crisp, detailed notes that evoke feelings of peace and tranquility with each listen.

Peace by Audio Brewers An Overview the Innovative Bowed Instrument
Peace by Audio Brewers - An Overview, the Innovative Bowed Instrument 51

Power and Versatility of Next-Gen Adaptive Polyphonic Legato

What sets this bowed instrument apart from other musical offerings is its use of Next-Gen Adaptive Polyphonic Legato technology which allows it to automatically adapt to playing speed and dynamics without any mouse or DAW control needed – freeing musicians from being slaves to technology.

Additionally, Voice Movement Awareness ensures that even when using many voices simultaneously, each one will remain distinct and true to its original sound.

Stamatis Stringaris Pushes Boundaries with One-Of-A-Kind Missile Shell-Bowed Instrument

Stamatis Stringaris has taken his artistry to the next level by creating a one-of-a-kind bowed instrument crafted from the shell of a missile. Stringaris, the founder of DustBowl Cinematic, was inspired by unconventional materials such as found objects and fabrics to create something truly unique.

Using his skill and creativity, he fashioned this instrument out of all things industrial – an object built for destructive purposes now fashioned into something musical. He is pushing boundaries with his new design and immersing himself in the world of neo-traditionalism.

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Audio Brewers and Dust Bowl Cinematic Collaborate to Bring Unique, Expressive Instrument to Life with Intuitive User Interface

Audio Brewers and DustBowl Cinematic have come together to bring a unique instrument to life. Through the detailed sampling of the instrument, its true personality can be heard.

Every nuance is captured, recreating a one-of-a-kind sound perfect for any artist. This expressive creativity is further amplified with the bonus of an intuitive user interface, making it easier than ever before to come up with seriously professional-looking results.

With the combined efforts of Audio Brewers and DustBowl Cinematic, this instrument’s power can be unleashed from studio productions to everyday music creation!

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Peaceful Sound Achieved: The Complex Process of Crafting and Sampling a Calming Instrument

The development of peace is a highly complex process, beginning with the initial design and crafting of the instrument. Subsequently, finding its best sonic spots requires meticulous attention to craft an instrument that meets the desired specifications.

Sampling and mixing using immersive techniques isn’t quick or easy either; much trial and error must be used to find the optimal combination for a peaceful sound. Ultimately all of this work helps create a truly calming listening experience when these elements are brought together perfectly.

Revolutionary Polyphonic Legato Technology Brings New Level of Peace and Harmony to Musical Performances

Peace and harmony can now be achieved with the aid of enhanced Polyphonic Legato technology. This revolutionary product is adept at automatically adapting to the nuances and dynamics of an individual’s playing speed, allowing players of all levels to express themselves much more naturally.

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A wide range of sound types, instruments, and evolution techniques make this a truly unique product that provides crystal-clear sound quality no matter the genre or style. Finally, players can enjoy unrivaled performances thanks to this innovative technology that takes their musical talents to new heights.

Revolutionary Adaptive Polyphonic Legato Liberates Musicians, Revolutionizes Music Production

Adaptive Polyphonic Legato technology liberates musicians from restrictive editing and production methods, revolutionizing the way music is made.

Adaptive Polyphonic Legato (APL) is musicians’ next big game changer. The vision of APL was born out of a need to break free from the often daunting and restrictive areas of using a mouse for music editing and a DAW for music production.

It is designed, coded, and explicitly adapted by and for musicians so that they can be liberated from tedious click-and-drag tasks. By harnessing the power of APL to its full potential, creatives can produce more freely and create groundbreaking music faster than ever before. Ultimately, this powerful new technology looks to revolutionize the way music is made in the 21st century!

Peace by Audio Brewers Harmonics
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True Panning and Dolby Atmos

When it comes to mixing, True Panning is an innovative technique that Crescent has pioneered. It allows users to place a strings ensemble around the listener’s head in three-dimensional space, creating an immersive experience unlike any other. It utilizes Ambisonics technology to achieve this, allowing for a much more realistic representation of the performance than traditional stereo hard panning.

Dolby Atmos is another technique that can take advantage of the spatial capabilities presented by Crescent products. Instead of simulating spaces and then placing a stereo signal in them like most other methods, Atmos uses a fully spatialized recording and unfolds it around the listener’s head – providing an incredibly accurate representation of what you would hear if you were present during the recording session. Furthermore, this process can be done in a matter of seconds and requires minimal effort on the part of the mixer.

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Both techniques provide users with unprecedented levels of immersion and accuracy when compared to traditional processes, thus making them invaluable tools for achieving superior recordings and mixes.

The ease-of-use and impressive sound quality provided by both True Panning and Dolby Atmos make them essential components for any musician or engineer looking to take their productions to the next level.

Peace by Audio Brewers Stereo vs Ambisonic Version
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4 Stereo Mixes Included

  • A Mix offers great balance from the Musician’s perspective. You’ll feel embraced by the sound of the instrument plus you will hear the sound of the helmet complementing it with a reverb-like sensation.
  • A BODY Mix offers the sound the shell emanates. The sound contains much more body and colour in the lower end.
  • A HELMET Mix offers the sound that comes from the military helmet. Filling your music field with a thin reverb-like sound.
  • A BINAURAL Mix offers the best Immersive type of sound if you are wearing headphones.

Stereo mixing is essential in music production, allowing the engineer to create a well-balanced mix that suits their artistic vision. By combining audio signals from multiple sources into a single stereo output, the engineer can create a sonic landscape that is truly unique and engaging.

At its core, stereo mixing involves combining two separate audio tracks – each of which has both left and right channels – into one complete mix. This technique also allows engineers to create various effects such as panning, spatial placement, reverb, compression and more. Commonly used to refer to the practice of blending different instruments or elements together to form a single soundscape, stereo mixing creates depth and texture in recordings.

One type of stereo mix is known as the ‘Mix’, which seeks to provide a balanced sound from the musician’s perspective. It combines all of the audio sources together by blending them into one cohesive mix. This type of mix ensures that each instrument is given equal weight within the recording and creates an immersive listening experience for the listener.

A ‘Body Mix’ on the other hand focuses more on creating a fuller overall sound through accentuating bass frequencies whilst still providing clarity for each instrument. Meanwhile, ‘Helmet Mixes’ offer a more reverb-like sound as they use military helmet microphones to capture sounds with thin reverberations that fill out the overall sound field.

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Lastly, binaural mixes are explicitly designed for headphone listening experiences, offering an even more immersive sonic experience because they take advantage of directional cues inherent in natural 3D sound fields.

In conclusion, stereo mixing offers multiple options for creating engaging sonic landscapes that use various techniques such as panning, reverb and compression. Whether you’re looking for a balanced ‘Mix’ or something with greater body such as a ‘Body Mix’ or Helmet Mix’ – there’s sure to be something that meets your needs!

Experience the Future of Sound: Immersive Perspectives Revolutionizes Music Listening with Ambisonic Technology

Immersive Perspectives offers a different listening experience than traditional stereo or surround sound mixes. These mixes are created using Ambisonic technology, replicating a real-life environment’s sound to create a fully immersive 3D soundscape. Ambisonic technology captures sounds from all angles by using multiple channels and microphones placed strategically around the room, giving listeners an unprecedented level of realism and immersion. 

In these real-world scenarios, sounds come from all directions—above and below our heads, from behind us and ahead of us, and from above and beyond us—creating a much more realistic listening experience than what could be achieved with a traditional stereo or surround sound mixes. With Immersive Perspectives, listeners can feel as if they’re actually in the recording space with the artist as they play their instrument. 

Immersive Perspectives also offers true panning capabilities—listeners can move through virtual space as if they’re physically inside it. This enables engineers to place instruments at varying distances throughout the mix to create dynamic depth and movement in the soundscape. The result is a mix that provides more accurate localization of sounds within the mix and allows for greater control over how those sounds interact in various playback systems

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Beyond providing an increased level of realism, Immersive Perspectives also adds storytelling elements to music production. Musicians can place instruments at different points in the mix to influence how their story is told through sound—where each instrument should be placed for maximum impact on both the listener’s ears and emotions. By using this approach, artists can transport their listeners into another world through their music without having them leave the comfort of their own homes.

Conclusion

As you can see, Peace is genuinely an innovative bowed instrument unlike anything else currently available on the market today that has been crafted with meticulous care and precision by master luthier Stamatis Stringaris in collaboration with Audio Brewers & DustBowl Cinematic.

Combining Next Gen Adaptive Polyphonic Legato technology with Voice Movement Awareness ensures that every note sounds crisp and accurate to its intended source – no matter how fast or slow it is played – allowing musicians more creative freedom than ever! Who knew something as simple as a decommissioned missile shell could revolutionize music composition? We did! And now you do too!

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Best Service

Exploring the World of CH-OCTA with Chris Hein – OCTA

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Chris Hein – OCTA (CH-OCTA) is a revolutionary new music instrument from Chris Hein Instruments. Its mission is to provide musicians with an innovative, comprehensive musical experience.

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With its eight core mixers, solo and multi instruments, comprehensive sequencer features, and much more, CH-OCTA is quickly becoming the go-to instrument for professional musicians worldwide. Let’s take a closer look at what CH-OCTA has to offer.

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Chris Hein – OCTA Crossgrade Option

Best Service has pulled out all the stops this time! ‘Chris Hein – OCTA‘ is now available, ready to make your music production woes become a distant memory. For those who already own a Chris Hein Library, you’re in luck – until January 31st, 2023 you can upgrade to this new powerful tool for only $239 with their Loyalty Crossgrade. So don’t miss out on one of the best upgrades you’ll ever see from Best Service – make sure you remember to grab it before 31st January is all we’re saying!

One thing worth noting about OCTA is that it isn’t stingy with its beauty. This instrument makes it easy to explore and find the music within yourself – whether you’re looking to craft a whimsical melody or an entire symphony. Its programmability gives you the freedom to be creative while its lyrical nature brings out that improvisational style of composition in a unique way. So, don’t be intimidated by how complex OCTA may seem at first glance – instead, let its peculiar charm gracefully draw you in and uncover some of your most creative pieces.

The MEGA STRUCTURE Engine

At the heart of CH-OCTA is its MEGA STRUCTURE engine. This 8-core mixer allows users to layer multiple instruments in up to 8 different channels or combine multiple instruments in a single track.

In addition, it offers a range of solo and multi instruments that can be further customized by changing their parameters or adding effects such as reverb and distortion.

For those who want more control over their sound creation process, the comprehensive sequencer features allow users to create intricate patterns and rhythms easily.

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CH-OCTA as the First Instrument in the Series As the first instrument in the CHRIS HEIN series, CH-OCTA has some impressive features that make it stand out from other instruments on the market today.

One of these features is its wide variety of solo instruments that can be used for both composing and recording purposes. These include guitars, basses, drums, strings, woodwinds, brass and synthesizers —all of which can be used alone or layered together to create unique sounds.

Also, CH-OCTA has a number of multi-channel instruments that make it easy and quick to combine different sounds and make complex compositions.

Finally, its sequencing capabilities are top notch; users can sequence up to 8 channels simultaneously for maximum flexibility when creating their music.

Comments and Reviews from Professional Musicians Many professional musicians have already been blown away by CH-OCTA’s impressive capabilities.

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From jazz guitarists who appreciate how easy it makes creating intricate compositions to DJs who love how powerful its mixing capabilities are—everyone seems to agree that this instrument has something special about it that sets it apart from other similar products on the market today.

Moreover, many users also attest to how intuitively designed this instrument is; they find that even novices can get up and running with minimal effort thanks to its user friendly interface design.

Chris Hein Blends Traditional and Unique Instruments to Create Out-of-this-World Soundscapes

Chris Hein not only recorded the beautiful Concert Vibraphone, Glockenspiel from the WDR Symphony Orchestra, and Grand Marimba from a friend – he also addd some truly unique instruments to his collection.

His self-made MyTube instrument, plucked instruments such as the Guitarette and Monochord, an array of Kalimbas and other “tonal” percussive instruments all make an appearance. After experimenting with combining these instrument with synths, pads and keys, Chris realized his collection could also be used as a sound source for a multi-instrument. Talk about out of this world!

OCTA Instrument: A Revolutionary New Product for Studio Creativity

Chris Hein’s OCTA instrument concept revolutionizes modern studio set-ups with groundbreaking versatility and comprehensive sound capabilities.

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OCTA combines 8 core mixers, multi instruments, a comprehensive sequencer and more for an unprecedented music creation experience. This new product marks the entry of the CHRIS HEIN series into modern studio creativity, with its amazing range of features and functionalities that will take musicians to new heights of sound exploration.

After 3 long years of research, development, and hard work, the introduction of Chris Hein’s OCTA instrument concept is finally here! This groundbreaking new product brings a variety of sounds and textures to the studio that were previously unavailable.

Users have praised its complexity for being so versatile and comprehensive, allowing them to create not just unique sounds but entire musical ideas in one place.

From elegantly plucked harps to layered synths and strings, Chris Hein has truly revolutionized the modern studio set-up with OCTA and given producers far-reaching creative potential.

Unleash Your Musical Creativity with the Revolutionary MEGA STRUCTURE Engine

The MEGA STRUCTURE engine is an intriguing musical tool that offers composers the chance to explore their talents in the digital realm.

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With eight core mixers and a host of solo and multi-instrument options, it has everything a musician needs to create and enhance their sound.

Including a comprehensive sequencer also allows musicians to sequence various instruments at different times and layer different melodies and parts over one another.

This opens up a world of possibilities for musicians venturing into the digital realm, allowing them to take their compositions further than ever before without sacrificing quality or creativity.

Revolutionize Your Vocal Sound with the Groundbreaking CH-OCTA: 8-Channel Dynamic Vocal Processor

The CH-OCTA is a groundbreaking instrument and the first of its kind to be developed in the MEGA STRUCTURE series. It houses an amazing 8-channel dynamic vocal processor, which allows users to shape their sound with unprecedented control.

The unique combination of advanced technology and user-friendly controls make it easy to create professional-quality vocal sounds quickly and easily. With the ability to record, mix, and master up to 8 different channels of sound simultaneously, this instrument stands out as a powerful tool for any musician.

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Whether you’re a novice or professional, the CH-OCTA can help you take your musical creativity to an entirely new level.

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Unleash Your Creativity and Explore a New Sonic Environment by Combining Multiple Sound Sources

What happens when you take the natural woody tones of a marimba and layer them with the metallic voices of a vibraphone? You might think you’ve heard beautiful music, but why not take it to the next level? CH-OCTA is here to do exactly that – it allows you to combine up to 8 sound sources and explore an entirely new sonic environment.

Get creative! Carefully arrange different instruments in order to create something totally unique, and channel your inner music maestro.

CH-OCTA: The Ultimate Music Production System Combining Cutting Edge Technology and Simple Design

CH-OCTA marries cutting edge technology with a refreshingly simple design, making it one of the most powerful music production systems in the industry.

With 100 high-quality solo instruments, 8 core multi-channel instruments, and an 8-channel sequencer, there is something for everyone no matter their level of expertise or the style of music they are creating.

Allowing users to mix and match different sound combinations provides endless options for experienced and novice musicians. Experience the flexibility and power of CH-OCTA today!

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Conclusion

CH-OCTA’s debut to the MEGA STRUCTURE series is a prizewinning performance – its versatility in both the solo and 8-channel instruments led it to top the ranks when it comes to creative, improvisational sound.

Boasting an impressive line-up of 100 solo instruments and 8 core multi-channel ones, all under the aegis of an 8-channel sequencer, this workhorse is ready to make your every musical impulse come alive! With CH-OCTA’s incredible blend of functionality and spark, you’re just one spark away from creating your very own symphonic masterpiece.

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If you’re looking for an innovative way to compose or perform your music without sacrificing quality or creativity then you should definitely check out Chris Hein – OCTA!

With its wide variety of solo instruments along with its powerful multi channel options and comprehensive sequencing tools—you’ll quickly discover why so many professionals are now choosing CH-OCTA as their go-to instrument for all their music making needs! Try it out today!

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Omnisphere

Tom Wolfe’s Binaural Soundscapes: A Revolutionary New Soundbank for Spectrasonics Omnisphere

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Are you a producer or composer looking for new, unique sounds to add to your music? Look no further than Tom Wolfe’s Binaural Soundscapes, a revolutionary soundbank for Spectrasonics Omnisphere.

This soundset is made up of 50 presets and 72 sound sources. Together, they create a cinematic atmosphere in an immersive 3D space that producers and composers can use to make textures with a depth that has never been seen before.

Let’s take a closer look at how Tom Wolfe’s Binaural Soundscapes are revolutionizing the world of music production.

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History of Binaural Audio and its Advantages

Binaural audio is a technique that uses two microphones placed in the ears of a dummy head to capture recordings that mimic how humans hear sounds in real life. It has been used since the late 19th century, but has become increasingly popular in recent years due to its ability to recreate lifelike soundscapes with amazing realism.

This makes it particularly beneficial for producers and composers who want to create more dynamic and realistic-sounding tracks. Additionally, binaural audio allows for bigger, more spacious textures than ever before.

Cinematic Binaural Textures

The idea of ​​cinematic binaural textures may sound complicated, but pretty simple. It’s like having surround sound through headphones, each sound precisely placed to create an immersive listening experience that transports the listener right into the middle of a movie.

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Through its complexity of layered noises and effects, cinematic binaural audio forms a landscape that provides an emotional response, allowing each individual to enjoy their unique version of the movie that’s tailored to their taste. With its ability to enhance the viewing experience, it’s not hard to see why cinematic binaural textures have become such fan favorites!

What Is Binaural Soundscapes?

Is your music feeling a little flat? Consider adding some binaural soundscapes to liven things up. What’s that, you ask? Binaural audio is an exciting new technique that brings a three-dimensional sonic experience as you’ve never heard before.

Omnisphere’s Binaural Soundscapes is the perfect way to get started – with 50 presets and 72 sound sources going beyond essential ambiance to create stunning sonic spaces. You can bring your music to a new level of depth and atmosphere without ever having to leave the house!

Put: If your tracks are stuck in 2D, it sounds like it’s time for a 3D upgrade.

Exploring Tom Wolfe’s Binaural Soundscapes

Tom Wolfe’s binaural soundscapes are explicitly designed for use with Spectrasonics Omnisphere. The collection features 50 presets as well as 72 sound sources with a cinematic nature.

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It also has multiple formats available so that producers can work with their favorite software programs (VST, AU, etc.). Examples of tracks created using this soundbank can be found on Tom Wolfe’s website and pricing information.

About Tom Wolfe

Tom Wolfe is a British sound designer. Tom is a well-known voice in the world of synthesizer presets. He has also won awards for his work as an independent film composer. His store, tomwolfe.co.uk, has soundbanks for some of the biggest and most popular software synthesizers and effects plugins on the market.

Users and critics alike praise Tom’s presets for being unique, creative, and easy to use. He has worked with several industry-leading companies and his sounds have been used by Oscar-winning film composers, Grammy-winning record producers, and AAA game composers.

Conclusion

Tom Wolfe’s Binaural Soundscapes provide an exciting new addition to Spectrasonics Omnisphere library of sound sources. This groundbreaking collection of 50 presets and 72 sound sources gives you a cinematic atmosphere in an immersive 3D space. This lets producers and composers make big textures with more depth and realism than ever before.

To learn more about this groundbreaking soundbank or purchase it online, visit Tom Wolfe’s website today!

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Special Launch – Pricing

For a limited time only, Binaural Soundscapes is available for the introductory price of £14.99 (regularly £19.99). Also on sale is Tom Wolfe’s Omnisphere Collection, featuring all 1350 of Tom’s Omnisphere Presets, currently just £174.99 (regularly £249.99). Offers end at 23:59 GMT on 25th January 2023.

Binaural Soundscapes FAQ

What is binaural soundscape?

Binaural soundscapes are recordings of 3D immersive audio experiences that use advanced recording techniques to capture and recreate the acoustics of a physical space. They are designed to immerse listeners in a realistic auditory environment, often using sounds from nature or other real-world settings.

How do binaural soundscapes work?

Binaural soundscapes are created by recording audio with two microphones placed at different distances from the sound source, and then processing the signals to recreate a 3D spatial image for the listener. The human brain perceives this as being in a real-world environment and can help with relaxation, focus, and mindfulness.

What are the benefits of binaural soundscapes?

Binaural soundscapes can be used to promote relaxation, reduce stress and anxiety, improve concentration and focus, enhance creativity, and encourage mindfulness. They can also be used to help with insomnia, tinnitus relief, enhanced meditation practices, and more.

Where can I get binaural soundscapes?

You can find a variety of binaural soundscapes available for purchase online or streaming services such as Spotify or Apple Music. There are also many free binaural recordings available on YouTube that you can use to begin exploring the world of 3D immersive audio experiences.

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Are there any risks associated with binaural soundscapes?

Binaural soundscapes are generally considered to be safe and harmless. However, as with any audio recordings, users should take caution when using headphones at high volumes or for extended periods to avoid potential hearing damage. Additionally, some people may experience headaches or dizziness when listening to certain sounds in a 3D environment. If this is the case, it is recommended that users take frequent breaks from listening and adjust the volume accordingly.

Do binaural soundscapes work on all devices?

Due to varying hardware specifications between devices, it is difficult to guarantee that a binaural soundscape will work on all devices. It is recommended that you check the specifications of your device before purchasing or streaming a binaural soundscape. Additionally, some devices may require specific software to play back the 3D audio correctly.

Are there any other tips for using binaural soundscapes?

For best results, it is recommended to use headphones when listening to binaural soundscapes, as this helps create a more realistic and immersive experience.

Additionally, taking breaks during listening sessions can also help with concentration and focus. Finally, it is important to keep in mind that everyone reacts differently to different types of audio experiences and what works for some may not work for others. Experimenting with different sounds and environments can be helpful in finding the perfect binaural soundscape for your needs.

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For best results, it is recommended to use headphones when listening to binaural soundscapes as this helps create a more realistic and immersive experience. Additionally, taking breaks during listening sessions can also help with concentration and focus. Finally, it is important to keep in mind that everyone reacts differently to different types of audio experiences and what works for some may not work for others. Experimenting with different sounds and environments can be helpful in finding the perfect binaural soundscape for your needs.

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